GEORGE MASON UNIVERSITY VISITING FILM SERIES April 29, 2020 I am pleased to be here to talk about my role as Deputy Director of the Washington, DC International Film Festival, more popularly known as Filmfest DC, and as Director of the Arabian Sights Film Festival. I would like to start with a couple of statistics: We all know that Hollywood films dominate the world’s movie theaters, but there are thousands of other movies made around the globe that most of us are totally unaware of or marginally familiar with. India is the largest film producing nation in the world, whose films we label “Bollywood”. India produces around 1,500 to 2,000 films every year in more than 20 languages. Their primary audience is the poor who want to escape into this imaginary world of pretty people, music and dancing. Amitabh Bachchan is widely regarded as the most famous actor in the world, and one of the greatest and most influential actors in world cinema as well as Indian cinema. He has starred in at least 190 movies. He is a producer, television host, and former politician. He is also the host of India’s Who Wants to Be a Millionaire. Nigeria is the next largest film producing country and is also known as “Nollywood”, producing almost 1000 films per year. That’s almost 20 films per week. The average Nollywood movie is produced in a span of 7-10 days on a budget of less than $20,000. Next comes Hollywood. Last year, 786 films were released in U.S. cinemas. The average budget was $6.7 million per movie and a one year production time. South Korea is emerging as a major film producing country. Their film production has increased by 81% in the past six years. They produce over 300 films per year. South Korea’s film Parasite by Bong Joon Ho is the first foreign movie to take home the Palme d’Or, the top prize at the Cannes Film Festival last May (2019). In January, it won Oscars for Best Picture, Best Director, Best Original Screenplay, and Best International Feature Film. Receiving the Best Picture award marks the first time in the Academy’s 92-year history that a foreign language film has won the biggest prize. Filmfest DC, along with hundreds of other film festivals throughout the world, strives to present some of the best in new international cinema to an interested population, not only from the countries I just mention, but from any film-producing country. Filmfest DC is the oldest and only international film festival in Washington DC. This year will mark our 34th edition. Every year we present 70 – 80 feature films, plus scores of shorts, from at least 35-45 countries to an audience of 16,000 people. 1 Our aim is to bring quality international cinema to the DC audience, to celebrate storytelling and the various ways to see the world. We want to bring the best and most exciting cinema to film lovers of all kinds. And it’s also a way to celebrate DC’s rich and diverse population. Our audience reflects the cosmopolitan, multi-ethnic nature of our city. In addition to a diverse mix of film lovers, our audience also reflects all walks of life, including academics, students, professionals from the private, public and federal sectors. Our festival attracts individuals who are curious, well-read, well-traveled, follow current events, and are not psychologically land locked. In addition to the films, we also present opening & closing night events, embassy receptions, and filmmaker Q&A’s. Films include comedies, thrillers, music, and social justice themes. I think our audience appreciates the cultural richness of the films, the topics and depth of the films, and they welcome the occasion to see these films in the proper setting – inside a dark movie theatre with a live audience. – Foreign films, especially, are best experienced in a movie theater where every detail can be appreciated on a large screen. – Foreign films tend to focus more on human drama and emotions and less on special effects. – Foreign films tend to offer intriguing and often challenging plots that unfold in many layers. A dark movie theatre, with no outside distractions, offers the viewer an ideal setting to appreciate every aspect of the film. – There’s really no other setting that can replace a movie theatre, not a TV screen at home, or a computer, and certainly not a cellphone. The movie theatre experience, especially during a festival, may allow you to discuss the film with colleagues and other members of the audience, to exchange opinions and interpretations of the film. The organizing of the festival is a year-round process. For us, the new film year begins in May – immediately following the conclusion of Filmfest DC at the very end of April. The Cannes Film Festival take place in mid-May, and that provides us with a very broad window of the films for the year ahead. We continue screening films throughout the year in a number of ways: – By attending a select few film festivals. – By screening films submitted to our festival through Film Freeway. – By year-round research, keeping up with film reviews and film industry news. – By keeping in touch with international film distributors, and with filmmakers, as well as our counterparts at different festivals. – By far, the majority of films we screen are on the computers in our office and at home. 2 Our main criteria in selecting films is artistic quality. We also look at the originality of the script and the technical quality. We pay attention to films that are receiving recognition in other countries and other festivals, and films that receive awards. We look for new films by established directors, and keep our eyes open for first films by new directors. We keep track of all the films we see by taking personal notes which eventually will be merged together on a shared chart. We monitor which films may be scheduled to open in U.S. theatres prior to our festival dates – which would make them ineligible to participate in Filmfest DC. Eventually we select the films that we want to invite, identify the distributors, and then start the process of reaching out to them to formally invite the film. We often get an immediate response from the distributors, which is great, but on the other hand, it can be a lengthy procedure for a variety of reasons: – The film’s calendar schedule for festival participation has not been established yet. – Or the distributor will hold on to a film with the hopes of finding a US distributor. – Both the Toronto and Berlin Int’l Film Festivals are key festivals where distributors hope to expand the distribution of their films. – We pay a screening fee for films, and since the fees increase every year there’s usually a period of bargaining that follows until we can mutually agree on a fair fee. Materials are then collected from the confirmed films – images, production notes, trailers, and press kits. We hire copy writers to prepare the film notes for a number of the films in our festival catalog. Basically, the entire year from May to the following March is devoted to film research, programming, and coordination of the festival. While working on the film programming, we address all the other festival logistics – preparing grant applications; contacting sponsors; finalizing the theatre venues; and putting the festival catalog together. Additional logistics include addressing all the technical and shipping details; preparing the ticketing procedures; inviting guest directors and organizing their schedules; and working with our theatre managers and festival volunteers. This list can go on and on. Immediately following the festival, the wrap up can be a lengthy process in itself, and often tedious. Everything must be put back where it belongs – sending films back to the distributors or on to the next festival; clearing the movie theatres from all the festival supplies; preparing final reports and wrap-up packages; and conducting internal wrap- up meetings. Over the years, our most popular films – in terms of being the most well attended – have been films from France, Italy and other European countries, as well as Latin America. But attendance has also reflected an appreciation of films from other regions such as Asia, the Middle East and Africa. 3 Some Filmfest DC highlights over the years have included some special guest directors along with their new films: Italian director Lina Wertmuller attended Filmfest DC with her films Saturday, Sunday and Monday and Me Let’s Hope I Make It. Lina Wertmuller was the first woman nominated for an Academy Award for Best Director for her earlier film Seven Beauties. The films of Argentine director Eliseo Subiela were extremely popular. We presented at least half a dozen of his films, including The Dark Side of tHe Heart and Don’t Die WitHout Telling Me Where You’re Going. Subiela’s films contain magical elements that resonated very positively with the audience. Other popular films included all the very artistic and fluid dance films of Spanish director Carlos Saura, especially his film FlaMenco. German director Wim Wenders was also popular. We featured his early films Wings of Desire, and The Buena Vista Social Club. The French film The IntoucHables was one of our closing night event hits. Amelie was France’s most popular film until The Intouchables hit the screens in 2012. The IntoucHables tells the true story of a wealthy, physically disabled man who hires a young, genial, black Muslim ex-con as his caretaker.